Details

Written by Matthew Toomey

Created: 17 August 2000

Some 28 years later, Childers, now a highly regarded military leader, is on assignment in Yemen.  His job - to evacuate the American ambassador (Kingsley) and his family whilst avoiding hostility with local protesters.  Unexpected events transpire and the American troops find themselves under direct fire and three soldiers are killed.  Childers gives command to “waste those mother fuckers” and 83 Yemenese (many women and children) are slaughtered.

Back in the U.S., a media circus has erupted and relations between the States and Yemen are at boiling point.  Someone needs to be held accountable for the massacre and the National Security Adviser (Bruce Greenwood) wants Childers “crucified” for the incident.  Thus, a trial begins.

Childers calls on Hodges to defend him whilst young gun Major Mark Biggs (Pearce) is the prosecutor who’s out to make a name for himself.  The key issue of the trial is whether those fired upon were armed and with little evidence to support his “yes” argument, things do not bode well for Colonel Childers.

Rules Of Engagement is an attracting thriller boasting one of the best casts of the year.  Tommy Lee Jones (The Client) and Samuel L. Jackson (A Time To Kill) are no stranger to courtroom dramas and each seem to love the roles they have been given.  Guy Pearce’s American accent needs some work but its great to see Australian representation.

Not all the pieces fit but it’s enjoyable to watch a film where there’s doubt as to how things will unfold.  In most films, we see a pivotal scene that reveals all but not so in Rules Of Engagement.  The leading piece of evidence is a videotape from a security camera atop the embassy which cannot be located.  Conventional wisdom suggests that the tape will be found 10 minutes from film’s end and they’ll all live happily ever after.  Not so.

Most political/legal dramas are glossed up and this is no exception.  A particular downer is the way the National Security Adviser and the Ambassador attempt to conceal evidence - it didn’t make sense as to why they did it and why they we’re so obvious when doing it.

Regardless, it’s a potent film.  The opening half-hour features some fierce war scenes that rival the standards set by Saving Private Ryan.  Whilst not a true story, it has a lot to say about the military and corruption - attracting topics in most anyone’s book.

Details

Written by Matthew Toomey

Created: 10 August 2000

Working at his father’s firm on Wall Street, Patrick Bateman’s life revolves around appearances.  He enjoys grooming, exercise, dinners at exclusive restaurants, picking up “hardbodys” at clubs and doing as little work as possible - creating the illusion to all that he is a successful individual.  Patrick Bateman is also a psychopath.

Bret Easton Ellis’s novel is a work of art.  Banned in Queensland for its subject material (which is much worse than that seen on the screen), American Psycho is an intricate novel that has a lot to say about people in the late 1980s.

It is surprising to see the film directed by a woman, particularly as it so acutely illustrates the depravity of men.  Her direction and screenplay are strong but the impact left by the book isn’t fully captured in her adaptation.  At times the film resembles a jumble and for those unfamiliar with the novel, the pieces won’t always fit together.  What became of Luis Carruthers, Courtney Rawlinson, Evelyn Williams?  Special credit has to go to the opening credit sequence that was extremely well designed.

American Psycho has had a colourful past on its path to the big screen.  Christian Bale was touted as the lead until Leonardo came along, following the success of Titanic, and sought the part.  Women’s groups protested claiming DiCaprio’s teen-idol status would encourage younger viewers to idolise his character and DiCaprio subsequently turned down the role leaving Bale to sign on the dotted line.

Christian Bale does a great job in a most difficult role.  I was most surprised by his ability to capture the soul of the character - he’s not really “evil”, he’s just a psychopath.  Some of his wittiest moments come as he discusses the musical talents of Phil Collins and Whitney Houston and how he kept a straight face I will never know.

There’s a lot behind Patrick Bateman and American Psycho that makes entrancing viewing.  It’ll leave you thinking just what it all means and whether such people really do exist.  Trust me, they do.

Details

Written by Matthew Toomey

Created: 10 August 2000

Jackie Chan films are all similar and frankly I am tiring of them.  We’ve seen Mr. Nice Guy, First Strike, Rush Hour, Who Am I? and Rumble In The Bronx over the past few years and it’s the same old stuff.  Chan is a great stuntman with some comedic ability but like your Van Dammes and Stallones, familiarity breeds contempt.

The most joy I found watching Shanghai Noon came from Lucy Liu who plays the princess very well.  She hardly speaks a word and manages to create a mystery to an otherwise stock character.  Owen Wilson also had his moments with his laid-back, casual style.

Some of the jokes are funny but you feel the whole time that you’re just going through the motions.  After about half an hour the novelty had worn thin and I spent most the remainder glancing at my watch, other patrons and the curtains on the cinema walls.  They were nice curtains…

Details

Written by Matthew Toomey

Created: 10 August 2000

Eye Of The Beholder is an intriguing thriller.  A mysterious detective known only as “the Eye” (McGregor) is given the assignment of watching the boss’s son who is suspected of embezzling family monies.  When the son is murdered by a deceptive woman named Joanna (Judd), Eye finds himself fascinated by her and follows her all across America trying to learn more about her.

There’s not a lot more to say.  The film is a little muddled but that is Elliot’s intention - he doesn’t want to give everything away too early.  All the way, I wasn’t sure where it was going or what it was about and yet I couldn’t stop watching - I had to see how it ended.  Therein lies the flaw - the disappointing ending.

Small side items are also a distraction.  How is it he follows her around without being noticed?  How does he always manage to pack so quickly when she’s on the move?  How does he never manage to lose sight of her?  What is up with all the snow domes?  What happened to the boss?  These questions will really only make sense once you’ve watched the film and I feel I’m not the only one who will be asking them.

Ashley Judd always has a strong presence on screen and her exuberance makes her the most likeable in the film.  McGregor downplays his role and perhaps was not the best man for the job.  Small cameos from actors like k.d. lang and Jason Priestly stop the eyes from wandering but they can’t boost the film’s slower moments (and there are quite a few).

The film’s arthouse style is a gamble that has backfired.  There’s little to take away and little you’ll remember the next day.  On the back of the disgraceful Welcome To Woop Woop, Stephan Elliott should have a close look at the subject material before tackling his next project.  That is of course, if he gets another chance.

Details

Written by Matthew Toomey

Created: 10 August 2000

I originally saw this film at the Brisbane International Film Festival and was surprised to find people who found this film enjoyable.  Based upon the novel by  Jeffrey Eugenides, it’s one of those films where you’re better off having read the book before seeing the film.

It’s the story of the five Lisbon sisters - Cecilia, Lux, Bonnie, Mary and Therese.  Their parents keep a tight rein over the daughters allowing them little socialisation and other activities.  When Cecilia commits suicides, Mr and Mrs Lisbon are advised by a psychologist that the daughters need more influences than those they are currently limited to within the house.  They agree to allow the daughters to the school’s Homecoming Dance but the ramifications from that dance would change the path of all their lives.

The Virgin Suicides is the directorial debut of Sofia Coppola and it left little impression on me.  The film is an attempt to create some art-house cult movie through its darkness and controversial subtext but the end product is boring.  The performances were one of the few strengths to shine with James Woods and Kathleen Turner particularly good as the two parents.

From the viewpoints of others, my best recommendation is if you’re interested in this, read the novel.  If you haven’t, take your chances but be prepared for disappointment.  An underwhelming view.